It's not perfect; it seems to move very slowly for a film that isn't 90 minutes long, and several sequences last a few minutes longer than they should. The scoring is brilliant, though, specifically during the wife's testimony, and the silence in the woodcutter's testimony. Very good cinematography, and great theatrical acting, which is always fun. And, of course, on top of all that, it's a brilliantly written and intelligent statement on life.

As a huge Kurosawa fan, I found myself more than a little disappointed in Rashomon, which many claim to be his best film. There are beautiful shots and innovative story telling techniques, but unlike films such as Ikiru, which mixes high grandeur with moments of intimacy and subtlety, Rashomon is all hyperbolic allegory with no real substance to back it up. I'm glad I didn't have to view this first, as did many film students. I might have been turned off from some real masterpieces.

A crime story presented in an intoxicated manner with philosophical and psychological emphases, completed with a strong photography.

Very enjoyable, with the cinematography (especially in the forest) being breathtaking at times. It raises interesting thoughts about humanity, has a fantastic performance by Mifune, and the woodcutter's recollection of the fight is hilarious.

'Rashomon' is proof that sometimes, less is more. It has very few locations and characters, and yet this is completely overshadowed by top notch performances from everyone involved, and stunning photography far ahead of it's time. It features a bleak, philosophical story with a clear messege and perhaps one of the best ending scenes ever. Despite it's subtelty, I assure to you that every great modern thriller started here; in short, 'Rashomon' is a film with triumph written all over it.

This film delights in its complex narrative structure, which examines the discrepancy between the personas we present and the character they represent. Mifune's honor hungry Tajômaru is enjoyable, but Kyô's performance as the samurai's wife who would rather be a murderer than unfaithful is by far the most powerful. The ennui of the film's narrators reflect the ramifications of the multi-faceted narrative, but Kurosawa generously furnishes us with a hopeful conclusion.

An intricate (yet subtle) film which shines in all categories. Philosophically rewarding, as well as entertaining. I cannot think of a single unnecessary moment, nor a missing piece - it is perfectly balanced.

Hysterical Japanese women fake crying has got to be the most grating sound on earth.

A pretty great film. Or maybe it's an absolute masterpiece. Or maybe I hated it. Or maybe I haven't actually seen it.

Kurosawa creates excuisite compositions with beautiful lighting. And the narrative structure is innovative and works very well (albeit pretty stupid to have the dead man testifying). But does it have to be so overdramatic?! Damn, that girl is hysteric! It really ruins much of my interest in the characters. What ultimately saves the film for me is the frame story. I love how saddened and disillusioned they have become by having witnessed the deterioration of mankind.

Neat movie, probably started the whole "simple truth with many faces" generation of films. Great suspense.